RUN RUN SHAW
CREATIVE
MEDIA CENTRE
GRAND
OPENING
FESTIVAL
-
28/10/2011-
30/4/2012
The Four Infinities,
MOVEMENT B
(World Premiere)
Date : 28, 29, 30/10,
4, 5/11/2011
Time : 7:30pm
Venue : Multimedia Theatre, L1
Free admission on a first-come, first-served basis.

Running time: approximately 1 hour and 40 minutes with interval
The Four Infinities

Composer/Director

Steve Hui (aka Nerve)

Visuals

Ip Yuk Yiu
XEXGRP


Musicians

Chin King (Gu Zheng)
Rupert Woo Pak Tuen (Erhu)
Leung Yan Chiu (Sheng)
Mavis Lam Tsan Tong (Pipa)

A musical theatre performance created by composer Steve Hui, with XEXGRP, Ip Yuk Yiu and an ensemble playing classical Chinese instruments, The Four Infinities explores different aspects of visual and musical communication. The notation score is represented by a pre-rendered video, allowing the musicians to convert video images into musical parameters via a list of instructions. The appearance, colours, location and duration of the video objects affect how the musicians play their instruments. The performance also explores the application of musical language to video art, using the sounds of traditional musical instruments to paint a moving graffiti. A sound tracking system converts the pitch and dynamic of the instrumental sounds to digital data that is then processed by computers, generating visual images in real-time. The Four Infinities thus constitutes a musical performance that pushes the boundaries of musical notation, video art and theatre.

Director’s Note

The western musical notation system has a rich tradition in the historical development of music. It permits a composer to express musical ideas in a composition, which can be interpreted by musician. However, the two-dimensional standard printed music has it own limitations. It not only reduces the possibilities of musical expression, but also limits the composers' imagination. This kind of strictly pre-determined system is not an ideal tool for music which involved indeterminacy and improvisation. The meaning of musical score has to be expanded with today’s new technology. The function of notation shouldn’t limit to communication between composer and musician. A new form of notation system can open the doors to many new possibilities for communication in terms of audio and visual experience.

The Four Infinities is an experimentation of exploring different aspects of musical communication. The notation score is represented by a pre-rendered video. I design a system that would allow the musicians convert the video images to musical parameters by a list of instructions. All the symbols, colors, location and duration of the objects in the video would affect how the musicians play their instrument. The process of music generation during performance can be clearly observed by the audience, even if they are not musically trained. My goal is to explore a new form of musical performance that pushing the boundaries of musical notation, video art and theatre experience.

Instead of using music to accompanying visual elements, The Four Infinities is a new approach to creating visual images by composing and performing a piece of music. It is not soundtrack or MTV. It is an exploration on how to apply the musical language to video art, and to use the sounds of the traditional musical instruments to paint a moving graffiti. Through the sound tracking system, the pitch and dynamic of the instrumental sound is converted to digital data that can be processed by computers and generating visual images in real-time. During the live performance, audiences are able to observe the process of painting and how it is generated by the music.

About the Artists

Steve Hui (a.k.a.Nerve)


Born in Hong Kong, Hui graduated from the Hong Kong Academy for Performing Arts with a master degree in composition and electronic music. He is a member of experimental electronic music group VSOP and DJ of the clubnight HEADROOM. Hui’s creative work has been presented at various festivals including: Hong Kong Arts Festival, Microwave International Media Art Festival, Shenzhen & Hong Kong Bi-city Biennale of Urbanism/Architecture, Fringe Shanghai and Creative Cities (Hong Kong in London). His first orchestral work Re-Autumn was commissioned by the Hong Kong Sinfonietta. In 2006, Hui was invited by the Asia-Europe Foundation for “Hearing Helsinki” project in Finland. His first digital opera The Memory Palace of Matteo Ricci was commissioned by Zuni Icosahedron in 2010.

Ip Yuk Yiu

Ip Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from experimental videos to live film performances and media installations, have been showcased extensively at international festivals including Ann Arbor Film Festival (USA), European Media Art Festival (Germany), New York Film Festival (USA), the Image Festival (Canada), VideoBrasil (Brazil) Transmediale (Germany) and Yamagato International Documentary Film Festival (Japan). He has lectured extensively on film, video and media art and has taught at Emerson College, Massachusetts College of Art and the Hong Kong Polytechnic University. Currently he is an Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore emergent and computational forms of cinema.

XEXGRP

XEX is a young creative studio founded by aKai and honhim at 2007. The studio teamed up at 2008 and branched XEXGRP that focus on media art creation. Core members include Dan, Jason and Jeff. The group is being invited in different international art festival, screening and performance. Their works have been showed up in Asia countries like China, Japan, Korea and Taiwan. With the interests and ambition in exploring unconventional new media for presentation and to transcend the boundary between cognition in its works, XEXGRP has been increasingly active in involving itself in a wider range of creative activities. X-EX means creation on non-existence.

Link: http://xex.hk/blog



Back to top




MOVEMENT B

Performance

Ng Sze Wan

Concept, image, light and music

Ulf Langheinrich

Image playback and generation software

Ardrian Hardjono  

This performance addresses each of its viewers as single individuals, not as members of an audience. When experiencing Movement B, each viewer is at first preoccupied with the dancer, but eventually loses this awareness to encounter something attracting yet irritating.

No aspect of Movement B is designed to be spectacular; rather the intention is to cause a subtle sense of drift in the viewer’s perception; to act as a seductive attraction by means of aesthetic clarity, tranquility and depth.

The show starts with movement only on a horizontal screen on the floor, with a dancer, light and sound. 3D projection and stroboscopic flickering articulates its steady continuum. At the end of the show only the vertical screen is left glowing. However, Movement B is less about the images projected by the projector, but more about the images projected onto these screens by the viewers’ imagination.

Artist’s Statement

During the performance each viewer is occupied at first identifying with the dancer and eventually loosing awareness of the dancer. I want to create a situation in which each member of the audience has a personal and individual encounter with something beautiful yet irritating - an encounter that is very much created in the individual's imagination.

I am seeking connection to the single viewer, to many isolated individuals, not to an ‘audience’. It cannot be expected that the erected mirroring field or any aspect of MOVEMENT B will entertain the audience with ‘cool visual stuff’, The intention of this performance is to cause a sense of subtle drift in one’s own certainty in space and time; to act as a seductive attraction by means of aesthetic clarity, tranquillity and depth.

It is clear that the show will start with movement only at the field on the floor.

It is also clear that at the end of the show only the erected field will glow and the field on the floor will be dark.

The question is not what I project onto the fields on stage; the question is what the viewer projects into the fields on stage.

―Ulf Langheinrich


MOVEMENT B uses intensive strobe lights and subsonic sounds. Persons who are pregnant or who have epilepsy, claustrophobia or cardiac problems are not encouraged to attend.

About the Artists

Ulf Langheinrich

Born in 1960, Wolfen, Sachsen Anhalt, Germany.
Lives and works in Accra (Ghana).
Currently Visiting Fellow the CityU School of Creative Media

When he moved to Western Germany in 1984 he had left behind a 18 month military service in the National People's Army of the GDR, social work supporting old people and a period of study in industrial design in Halle, painting courses and audio-experiments using pipe organs, harmoniums and multiple tape machine environments.

In West Germany he set up a studio for electronic music and developed the basics of his musical language and engaged in painting, drawing and photography. In 1988, he left for Vienna where a studio at the WUK (Werkstätten und Kulturhaus) was put at his disposal.

From 1988 to 1991, he devoted himself again to regular painting and drawing, had a solo exhibition at the Kunsthalle Exnergasse and put out a catalogue of his work. These years testify to a rich and productive artistic diversity, involving a series of books of photos on Sicily for the Control Data Institute (Frankfurt am Main), the design of musical sound- scapes for the film- and video-projects as well as experimental concerts for Vienna's Kunstradio. During this time, he was also involved in the founding of the multimedia group Pyramedia and had joined the board of directors of the independent cultural organization WUK for two years.

In 1991, he and Kurt Hentschläger founded the Media-Art collaboration Granular Synthesis and since then they have produced a number of internationally acclaimed large scale projects including, MODELL5, NOISEGATE and POL. They exhibited and performed at the Museum for applied Arts ICA London, Hull Time based Art, MAK Vienna, Museums of Contemporary Arts of Lyon, Montréal and Seoul, The Stedelijk Museum, Kunstverein Hanover, ISEA Montréal and Liverpool, ICC Tokyo, Creative Time New York and the Austrian Pavilion at the Venice Biennial 2001.

Granular Synthesis received an Austrian state stipendium, a PS1 stipendium and the first prize of the International Biennial in Nagoya. The work is published on a number of DVDs including Remix/Index (Austria) and Immersive Works (ZKM/Cantz).

He also realized a Solo CD Degrees of Amnesia at Asphodel in San Francisco.

Since 2003, Ulf Langheinrich has produced various large scale solo projects including DRIFT, WAVEFORM, HEMISPHERE (a hemispheric film on a suspended dome funded by the Federal Culture Foundation of Germany) and his first stereoscopic film LAND commissioned by Liverpool Biennal '08.

He was “Featured Artist” at Ars Electronica 2005and awarded a Siemens Stipendium.

He was Guest Professor at HGB University for Graphics and Book Design Leipzig (Germany), Guest Artist and Lecturer of Audiovisual design at the FH Salzburg (Austria), at RMIT in Melbourne (Australia) and at the China University of Art in Hanzou (China) and Guest Artist and Professor at Le Fresnoy, Studio National des Arts Contemporains in Tourcoing (France).

Currently Langheinrich is the Visiting Fellow at CityU School of Creative Media.

Ng Sze-wan

Ng Sze-wan graduated from The Hong Kong Academy for Performancing Arts major in modern dance with distinction. She was actively involved in the local dance field since her graduation. She received scholarship from HSBC trustee fund and Sir. Robert Black Trust Fund for her further study in New Dance in The Netherlands, where she was exposed to the European dance field. She worked with several European and international choreographers and had performed in The Netherlands and Germany. She was being described as an exciting and vibrant performer and her performance was awarded “ Popularity Award “ in X-Tanz Festival in 1996. She received a Bachelor degree at European Dance Development Center, Arnhem, The Netherlands.

Back to HK in the end of 1996, she continued working as a performer, educator and choreographer and expand her art concern into multiple art form.

After four years in Mindanao Island (The Philippines) and Ghana (West Africa) she returned to HK in 2004 and started to share her insights and experience through performance, education and choreography.

She is the founder, artistic director and dance tutor of ”Breeze Across Us”. Her work and choreography "Breeze Across Us III - Touch & Move" was awarded "HK Dance Award 2004". Her first full-length solo concert “3Cs” in 2007 has been much appreciated by dance reviewers. Her experimental dance video “Shing Mun Redoubt” was awarded “Special Award for HK Dance Filmmakers” in the Jumping Frames Dance Video Festival 2008. She has great interest in a variety of experimental art forms and her research integrates her own direct experiences with people of different cultures and capabilities.


Back to top
Book Online Now

Advance booking is recommended

A confirmation e-mail will be sent to successful applicants.

Content on this page requires a newer version of Adobe Flash Player.

Get Adobe Flash player

Content on this page requires a newer version of Adobe Flash Player.

Get Adobe Flash player